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Iker is back with "Sinkronia". A gripping takes on Eastern and Western minimalist traditions influenced by the likes of Steve Reich, Suso Saiz or Midori Takada. Transcendental and esoteric rhythmic wonders that take time to unfold. A young percussionist and guitar player with electronic interests displaying a rich sonority and a great sense of structure and arrangements. This record shows the refinement of Iker's attributes, who initially worked in the noise/punk scene and now is part of the local Free Jazz/Improv landscape of San Sebastian, although he currently lives in New York where he has been playing several gigs including a rendition of Glenn Branca's Symphony No.13 at Lincoln center with 100 guitarists. For this new album he uses Xylophone, hand drums, electric guitar, synths and percussion instruments that guide us in an energetic way to territories somewhere between Italian avant-garde, Japanese New Age and American Minimalism. Iker Munduate Thusberg is a Basque multi-instrumentalist born and raised in San Sebastian and with strong ties to Mikkeli in Finland, where half of his family are from. A fine arts student at Bilbao's UPV (Basque university), his interest in sound, art and design has led him to combine all these different disciplines and convey them into his music and his work. "Iker Munduate is an artist and musician who brings a delicate sense of composition and design_ Inspired in part by new age music, Its rippling melodies and frictionless glide recall the futuristic utopias of Detroit Escalator Company and the interior reverie of Nobukazu Takemura (Derek Walmsley, The Wire Dec'24)"

“Music for me, is rarely complete,” says GODFLESH mastermind Justin Broadrick, “but it has to reach a point where enough is enough. Creatively, there has to be self-discipline. One has to end it.” Broadrick is primarily referring to the nebulous process of writing and arranging songs into their various potential shapes, but he could just as easily be describing GODFLESH’s imminent conclusion. Just three years after the hypnotic crunch of Purge, 25 years after an uncertain hiatus that nearly scuttled the band, and 38 years since GODFLESH’s inception, Broadrick and bassist-at-arms Ben Green set out to mercilessly crush this cold world with their tenth and penultimate album, this year’s Decay. “Decay was born from the same sessions as Purge,” Broadrick declares of the new record’s six tracks. “It was one huge pool of songs. I picked what I felt was appropriate for what I wanted to achieve with Purge, with the intention of releasing the songs that didn't fit as a new album within a year of Purge being released. Unfortunately, two years passed whilst considering external labels, so that I didn't have to self-release GODFLESH anymore, but it took an awful lot of time to establish a comfortable home for me. The recordings were done, but as usual for me, I did change a lot of stuff once I came back to it.” Now, GODFLESH is ready to unleash an even bolder, bleaker series of sounds in Decay. These songs arrive shortly after Broadrick released a public statement about major abdominal surgery he underwent earlier this year.

The works of Kansanturvamusiikkikomissio, the predecessor of Radiopuhelimet, reissued on vinyl in September Kansanturvamusiikkikomissio—better known as KTMK—was a hardcore punk band from Oulu, founded in the fall of 1983 by guitarist Jarno Mällinen, drummer Jyrki Raatikainen, bassist Pekka Salonsaari, and vocalist Antti Penttilä. The band managed to only play a handful of shows before their first five songs were released in the fall of 1984 on the praised Finnish Hardcore compilation Yalta Hi-Life, released by Barabbas Records. After the 1985 debut album 666, internal conflicts within the band began to drive Kansanturvamusiikkikomissio into a dead end, which was resolved by bringing in Jukka Kangas as the second guitarist. Spurred by this renewed enthusiasm, KTMK recorded a six-song EP titled Seitsemäs pasuuna in early 1986 for Dekadenz’s Fuck label, featuring the underground hits Jeesus oli venäläinen kantoraketti and Boogie-mies. Now reissued for the first time ever, the EP includes five KTMK tracks originally released on the Yalta Hi-Life compilation as bonus material. The band’s final concert took place at Mimmiteekki in Muhos, Finland on March 1st, 1986. Just a few weeks later, Mällinen, Raatikainen, and Kangas formed Radiopuhelimet, who have also played some concerts consisting entirely of KTMK songs during their career. One of these shows took place on February 18th, 2006, at the Vastavirta club in Tampere, Finland and was later released on DVD that same year under the title Radiopuhelimet Plays Kansanturvamusiikkikomissio.

CHTHONIC's award-winning 2018 album Battlefields of Asura reissued on vinyl in September via Svart Records CHTHONIC is a Taiwanese metal band formed in Taipei in 1995, with the members nowadays split between Helsinki and Taipei. Their 2018 album Battlefields of Asura is an award-winning release. With this album, CHTHONIC won their second Golden Melody Awards, Taiwan’s equivalent of the Grammy Awards. CHTHONIC's lyrics are inspired by Taiwanese mythology, folk stories, and history, while its music incorporates elements of traditional Taiwanese folk music, enka, and the sorrowful melodies of Taiwanese opera. These are accompanied by traditional instruments such as the hena and koto. Also integral to CHTHONIC's sound are elements of symphonic black metal and melodic death metal, along with intense riffs and solos. Critics have attempted to categorize CHTHONIC as death metal, folk metal, or black metal, but the band has opted for the simpler label of metal. They've performed at many major festivals around the world, including Fuji Rock and Summer Sonic in Japan, Ozzfest in the US, Download in the UK, and Wacken Open Air in Germany, as well as having toured extensively across Europe, North America, and Asia over the years. Prior to this album, CHTHONIC was signed to Spinefarm Records / Universal Music Group, under which they released three albums and toured internationally. After their 2014 European tour, the band decided to slow down, and vocalist Freddy Lim began his political career. He was elected to Taiwan's Parliament in 2016 and re-elected in 2020. During his tenure, he pushed for LGBTQ rights and gender equality, helping Taiwan become the first Asian country to legalize same-sex marriage, along with advocating for Indigenous rights and other human rights issues..

CHTHONIC's award-winning 2018 album Battlefields of Asura reissued on vinyl in September via Svart Records CHTHONIC is a Taiwanese metal band formed in Taipei in 1995, with the members nowadays split between Helsinki and Taipei. Their 2018 album Battlefields of Asura is an award-winning release. With this album, CHTHONIC won their second Golden Melody Awards, Taiwan’s equivalent of the Grammy Awards. CHTHONIC's lyrics are inspired by Taiwanese mythology, folk stories, and history, while its music incorporates elements of traditional Taiwanese folk music, enka, and the sorrowful melodies of Taiwanese opera. These are accompanied by traditional instruments such as the hena and koto. Also integral to CHTHONIC's sound are elements of symphonic black metal and melodic death metal, along with intense riffs and solos. Critics have attempted to categorize CHTHONIC as death metal, folk metal, or black metal, but the band has opted for the simpler label of metal. They've performed at many major festivals around the world, including Fuji Rock and Summer Sonic in Japan, Ozzfest in the US, Download in the UK, and Wacken Open Air in Germany, as well as having toured extensively across Europe, North America, and Asia over the years. Prior to this album, CHTHONIC was signed to Spinefarm Records / Universal Music Group, under which they released three albums and toured internationally. After their 2014 European tour, the band decided to slow down, and vocalist Freddy Lim began his political career. He was elected to Taiwan's Parliament in 2016 and re-elected in 2020. During his tenure, he pushed for LGBTQ rights and gender equality, helping Taiwan become the first Asian country to legalize same-sex marriage, along with advocating for Indigenous rights and other human rights issues..

HOL1D4Y’s debut album "Topology" explores the invisible connections that bind us together in an increasingly fractured world. Created by Scott Holiday, lead guitarist of Rival Sons, The record blends dreamlike textures with cinematic psych-rock, while embracing dance rhythms and free-form instrumentals, themes of love, technology, identity, and healing. Both expansive and intimate, Topology looks for meaning and human connection beneath the noise of modern life.

In 2024, Audrey Powne emerged as a compelling new voice in contemporary jazz with the release of her acclaimed debut album From the Fire; a self-produced and self-composed work celebrated for its lush string arrangements, soaring trumpet performances, and emotionally rich songwriting. Now, two years later, Powne returns with Bodies of Water, a bold and deeply introspective follow-up that continues her elemental exploration: from fire to water. An exploration of what it means to exist alongside others in an increasingly unstable world, Bodies of Water reflects on vulnerability, responsibility, and human interconnectedness. The album’s title and conceptual foundation were inspired by a passage from Caleb Azumah Nelson’s novel Small Worlds: “...to make himself a body, like water, a still surface, but beneath this, a ripple, and beneath this, an ebbing tide, and beneath that, a violent, constant tow…” Throughout the record, lyrics ruminate on the idea that like all bodies of water, we are vulnerable to disruption and catastrophe. Unlike inanimate bodies of water, however, we are conscious participants in both the damage and the repair. That tension between what we are made of and what we are responsible for became a grounding and harmonious thought. This album is a meditation on that idea, both in my personal life and in a broader, collective sense. Swollen, Broken Record, and Karma, reflect on moments of cruelty and error including her own that felt unbearable. Viewing them instead as forces moving through the landscape of a life, violent but temporary to survive their immediate impact. More socially conscious tracks Stay Awake, Creeds, RYV, and Two Sides confront frustration with political polarisation and the emptiness of language unaccompanied by action. The title and final track Bodies of Water brings these ideas together, reimagining both personal and societal upheaval as events shaped by bodies of water moving through the world destructive at times, transformative at others, and always in motion. Blending traditional jazz with Afrobeat rhythms, Dilla-inspired grooves, ambient textures, and expansive arrangements, Bodies of Water reveals the breadth of Powne’s artistic vision. The record moves fluidly between spiritual jazz, warped soul and rhythm-driven experimentation, while layered interludes and meticulous production thread its disparate influences into a unified and immersive sonic world.

A Flower to Water, the staggering new album from Greek Progressive-Post Metal outfit Playgrounded, finds the five-piece pushing their boundaries even further; welcoming the unquantifiable depths of loss, grief and finitude into their meticulous, fractal process as friends in defiance of neglect. Hailing from Athens, Greece but predominantly based in Rotterdam, Netherlands, Playgrounded have never ceased to push the envelope of Post Metal with genre-defying contemporary electronic and cinematic neo-classical elements since the band's inception almost two decades ago. A Flower to Water is Playgrounded's third full-length offering and sees the band thriving in their creative relationship with Pelagic Records. Recorded and produced by the band across multiple studios back home in Athens and Rotterdam, Playgrounded enlisted the help of longtime collaborators C. Cederberg (Leprous, Anathema) who mixed the album at Cederberg Studios in Kristiansand, Norway and George Tandero (Madrugada, Satyricon, Jaga Jazzist) who mastered it in Oslo. A profound sense of patience is keenly felt throughout the album. The deliberate spaces between each hammerblow guitar riff, pulsing bass line or hypnotic drum groove; each heavy, breathless pause and fizzing glitchy whisper all tell of unspoken loss and absence as an indelible part of A Flower to Water and indeed of Playgrounded forever more. In marking this absence however, in embracing loss head on, Playgrounded reify memory in defiance of neglect. By extracting such a colossal, breathtaking piece of work from a seemingly unassuming collection of sounds, clips and sonics; the quintet slow time to a standstill to present grief in bloom; a beautiful, perpetual flower with its roots in loved ones lost. FOR FANS OF Karnivool, Katatonia, Nine Inch Nails, Deftones, Moderat, The Ocean, Vola, Leprous, Skyharbor, Anathema

A Flower to Water, the staggering new album from Greek Progressive-Post Metal outfit Playgrounded, finds the five-piece pushing their boundaries even further; welcoming the unquantifiable depths of loss, grief and finitude into their meticulous, fractal process as friends in defiance of neglect. Hailing from Athens, Greece but predominantly based in Rotterdam, Netherlands, Playgrounded have never ceased to push the envelope of Post Metal with genre-defying contemporary electronic and cinematic neo-classical elements since the band's inception almost two decades ago. A Flower to Water is Playgrounded's third full-length offering and sees the band thriving in their creative relationship with Pelagic Records. Recorded and produced by the band across multiple studios back home in Athens and Rotterdam, Playgrounded enlisted the help of longtime collaborators C. Cederberg (Leprous, Anathema) who mixed the album at Cederberg Studios in Kristiansand, Norway and George Tandero (Madrugada, Satyricon, Jaga Jazzist) who mastered it in Oslo. A profound sense of patience is keenly felt throughout the album. The deliberate spaces between each hammerblow guitar riff, pulsing bass line or hypnotic drum groove; each heavy, breathless pause and fizzing glitchy whisper all tell of unspoken loss and absence as an indelible part of A Flower to Water and indeed of Playgrounded forever more. In marking this absence however, in embracing loss head on, Playgrounded reify memory in defiance of neglect. By extracting such a colossal, breathtaking piece of work from a seemingly unassuming collection of sounds, clips and sonics; the quintet slow time to a standstill to present grief in bloom; a beautiful, perpetual flower with its roots in loved ones lost. FOR FANS OF Karnivool, Katatonia, Nine Inch Nails, Deftones, Moderat, The Ocean, Vola, Leprous, Skyharbor, Anathema

This year, Prohibition reissues their landmark 1996 album Towncrier on vinyl. A cult classic that once took them across Europe and onto the iconic French TV show Nulle Part Ailleurs, the record remains a defining moment in their career. To mark the occasion, the Paris-based quartet returns once again for a series of live performances at the end of 2026. "Prohibition is undoubtedly one of the most important rock bands France has ever produced." - MOWNO Formed in 1989, Prohibition emerged from the underground veins of the French post-punk scene-a time when the movement survived through a handful of fanzines, crumbling venues, and a sparse network of independent record stores. Their sound was raw, urban, and tightly wound, still reverberating with echoes of hardcore and skate culture. A jagged, abrasive form of rock, driven by atonal guitars, surgically precise bass lines, off-kilter rhythms, and biting vocals. What set Prohibition apart was its singular instrumentation: a saxophone unleashed and the hypnotic drone of a sitar cutting through the noise. Their reputation quickly spread across Europe and the United States, leading to relentless touring and shared stages with the likes of Blonde Redhead, Fugazi, David Grubbs, Condense, and Chokebore. The band came to a close in 1999, following the release of their fifth and final album, the enduring 14 Ups & Downs. In 2015, Prohibition reunited for a special tour marking the 20th anniversary of Prohibited Records, including a standout performance at the Teriaki Festival, later captured by Mowno. Celebrating 30 years in 2025, the band released a reimagined version of Cobweb-day, titled Cobweb-day (Revisited), and returned to the stage for a series of powerful, memorable shows. Now, in 2026, Prohibition reissues their landmark 1996 album Towncrier on vinyl. A cult classic that once took them across Europe and onto the iconic French TV show Nulle Part Ailleurs, the record remains a defining moment in their career. To mark the occasion, the Paris-based quartet returns once again for a series of live performances at the end of 2026. For fans of: The Ex, Fugazi, The Jesus Lizard

Life Creates Itself is the new album by Bill Baird, releasing September 25th, 2026 on Royal Oakie Records. After years of restless wandering that took him from the Bay Area to India to Abbey Road and back again, Baird has returned home to San Antonio, Texas. Inspired by Lone Star legends Doug Sahm and Roky Erickson, the album inhabits a world where outsider country, avant-garde pop, and psychedelic folk dissolve into one.


Produced by longtime collaborator Jasper Leach (Tony Molina, Color Green) and mastered by indie-rock legend KRAMER (Galaxie 500, Daniel Johnston, Will Oldham), Life Creates Itself was recorded at Sear Sound in New York City in a single remarkable day — fitting for an album as indebted to Arthur Russell and Captain Beefheart as it is to Sir Douglas Quintet and Townes Van Zandt. The sessions brought together a constellation of collaborators around Baird and Leach, including Pedrum Siadatian (Allah-Las, PAINT), Phil Carluzzo, Austin Day, Oliver O'Haver, Jordan Johns, Michael Vattuone, Clara Kennedy, and Carluzzo’s dog Ernie.


Lead single "Yanaguana" — the original Payaya name for San Antonio, meaning either "land of many waters" or simply "where I am right now" — serves as a thesis statement for the album, a restless soul reckoning with what it means to finally come home. Meanwhile, "Karma Loan" is a fuzzy, sprawling psych track that spilled out of Baird during a deep immersion in Bach that features cello by Clara Kennedy and closes with a sound collage of spiritual gurus hawking easy paths to enlightenment. Then there's "Horse Moon" — built around pedal steel that shimmers like rays of moonlight, drifting through vignettes from a late night walk across New York City, with Pedrum Siadatian's lead guitar lending the whole thing an unhurried, dreaming quality. The night they tracked it, Baird climbed to the roof of Sear Sound and watched a full moon wash the city in a warm glow.


Baird has never sounded more at home, and Life Creates Itself may be his most cohesive record yet – a songwriter record through and through that stands apart from the rest of his discography. Royal Oakie Records is proud to release Life Creates Itself on September 25th, 2026, available on vinyl LP, CD, and digital download/streaming worldwide.

The word ‘Tystnad’ – literally translated – means silence. In this case, the Silence is less that of zen buddhism or that of John Cage, rather the name of the studio where Flowers Must Die – carriers of the torch of Swedish psychedelia for now nearly 20 years – retreated to make their most head-expanding album to date. Located near the Norwegian border in the verdant rural Värmland region, Silence Studios has been a countercultural hub for decades, attaining a legendary status as a residential outpost where bands can retreat to stretch out creatively and focus their psychic powers.
From just such origins, Flowers Must Die have crafted a collection of expansive and incandescent jams that maps out a lysergic trajectory between the idealistic, anything-goes mania of early ‘70s psychedelia and the 21st century. Tystnad is the sound of a band buoyed by the afterglow of their last Rocket release, 2017’s Kompost and its attendant touring, and expanding into extrapolations that marry the wildest free improv with haunting melody.
If Tystnad, as the band claim, is to be their last recording made in one room at the same time, then it displays a formidable escape velocity. Who’s to say whether Flowers Must Die have tapped into a Swedish continuum, one including the like of Pärson Sound, Dungen or Goat. What’s clear is that Tystnad is a timeless treatise, and a potent channeling of spirits –transcending genre in search of enlightenment anew.

Marking their second release for GULF COAST RECORDS, the collection favours raw performance over polish, capturing the chemistry, spontaneity, and fearless musicianship that have defined the group for more than three decades. Fronted by the unmistakable voice of JERRY LANGER and the soulful guitar work of RANDY JACOBS - formerly of Was (Not Was) - the EP embraces honest, acoustic arrangements where every note and breath remains beautifully exposed. Produced by Jacobs, Langer, and JOHN WOOLER, the project reveals a band confident enough to let the songs speak for themselves. Recorded primarily at Kaleidoscope Studios in Berlin, the sessions continued wherever the road allowed, with additional performances captured in U.S. studios and hotel rooms between shows. This wandering spirit gives the EP a sense of movement and lived experience. A remarkable ensemble of collaborators adds depth throughout, including Holly Montgomery, Arthur Thompson, Joe Sublett, Mark Pender, Jon Gilutin, and Oliver Leiber. Across six tracks - bold reinterpretations and originals - the band blends Detroit soul, New Orleans groove, blues, and rock & roll swagger. Pull Up the Roots celebrates authenticity, proving that great songs and genuine soul need no embellishment.

Originally released in 1978. A Classic Reggae album re-released on 180 gram vinyl and produced by Linval Thompson with extensive sleeve notes.
Recorded at Channel One Recording Studio & Harry J's Recording Studio.
Cornell Campbell is one of an elite group of Jamaican reggae singers who has weathered the changes throughout the music's development - in his case, from the ska era to right up to date - whilst retaining their relevance. Witness his recent alliance with UK Afrobeat/reggae band The Soothsayers or Jazmine Sullivan's R & B hit Need U Bad, which sampled his classic 'Queen Of The Minstrel' -a song that still sounds fresh more than thirty years later.
Sweet Baby was pressed on bright red vinyl, which only added to the excitement when you saw the selector position it carefully on the deck.
On the LP cover was a painting of Cornell wearing an emerald green shirt and framed by a lurid sky, which might have left some people wondering if it was a soul album. It wasn't, although there is certainly soul in the grooves, and especially on R&B covers like Gonna Take A Miracle - first recorded by the Royalettes -and Darling You Send Me, which Sam Cooke had introduced to the US Billboard charts some twenty years earlier.
Both are among the highlights but then the whole album is good in truth, and a heartfelt I Need Somebody and My Sweet Baby, plus the two-step favourite Just Enough were regularly played on sound system. Blinded By Love, I Didn't Know and Can't Hide My Love are tinged with melancholy and like the seductive Whenever You Need Me, display all the hallmarks of a classic Cornell Campbell side -swooping vocals, a driving rhythm and seductive lyrics included.

Nearly forty years later, it is gratifying to know there is still no mistaking him when his records are played in a dance. That relaxed vocal style draws you in but it's his falsetto, quivering with understated emotion that hooks you and turns you into a lifelong fan.

L’Eclisse is the third studio album by Garden City Movement. Drawing from psychedelia, alternative R&B, leftfield electronic music and lo-fi indie songcraft, the album weaves together guitars, synthesizers, layered vocal arrangements and groove driven rhythms into a richly detailed collection of songs. Bringing together different facets of the band's sound into a cohesive body of work, the album reflects a decade of musical exploration while further developing Garden City Movement's distinctive musical language.

Garden City Movement are the duo of Roy Avital and Johnny Sharoni. Over the past decade, they have built an international audience through a distinctive blend of dream pop, electronic music and immersive production. Their releases have received support from Pitchfork, The FADER, Clash, Stereogum and KCRW, while their music has appeared in FIFA 22 and major television productions. Alongside extensive international touring, the band has performed at festivals including Glastonbury, Primavera Sound, Pukkelpop and Lollapalooza India, and shared stages with artists such as Alt J, RÜFÜS DU SOL, SOHN and Cults.

A reggae cover of the classic track by Pharoah Sanders and War is being released on 7"!

Two legendary reggae covers from the album 『Drag'N Fly』, released in 2024 by the popular French reggae band The Dynamics, are now available on 7-inch vinyl!!

"You've Got To Have Freedom"is a bold reggae arrangement of the iconic track by spiritual jazz master Pharoah Sanders. It’s a standout cover with a powerful, dubby texture that really grabs you. The B-side features a reggae cover of"Low Rider,"the signature song released in 1975 by the legendary funk band War. With both sides sounding absolutely fantastic, this is an absolute must-have!

A superb Japanese lovers’ cover of Minnie Riperton’s classic track is now available on 7"!

SISTER KAYA, who has released numerous tracks as a reggae singer, covers Minnie Riperton’s classic ‘Lovin’ You’! The A-side features a ‘Lovers’ version sung with heart-warming Japanese lyrics, whilst the B-side includes a bossa nova version with the original lyrics. Built upon a romantic reggae rhythm, this superb track features SISTER KAYA’s powerful and warm vocals that truly resonate. A must-have for all reggae fans!

The hardest part of ending is starting again.

After a seven-year hiatus following the devastating loss of their beloved bandmate, LINKIN PARK’S remaining members struggle to find their way forward. Their shared history and enduring friendship, combined with the fresh perspective of two new band members spark a renewed creative energy that leads them on a transformative journey of artistic reinvention.

Following the band from intimate 2022 studio sessions through their explosive November 15, 2024 FROM ZERO album release and concert in São Paulo, the film UNSHATTER weaves together rare vault footage, electrifying performances from sold-out shows, and candid interviews with band members and fans—capturing the raw, honest story of what it means to start over.

This accompanying Film Soundtrack (Live in São Paulo) features transcendent performances of songs spanning their entire career, including exclusive recordings not experienced in the film.

“Echoes From The 90s” is a high-energy house and tech-house cut from Dutch producers Desmond & Summum. Built around a familiar sample from “Waterfall” by iconic ’90s dance act Atlantic Ocean, the track combines an unmistakable sense of nostalgia with driving grooves, powerful basslines and a polished, contemporary club sound. Already supported by Stussy, Ida Engberg and Danny Howard, “Echoes From The 90s” lands on Franky Rizardo’s LTF Records imprint.

This limited 12-inch release features two extended versions, both available exclusively on vinyl.

2026 Repress

The late sixties and early seventies spectacle of Jamaican Deejays taking their live performances out of the dance halls and translating them into hit records, not only marked the beginning of forty years of dance hall driven music on the island but also provided the original inspiration and template for the global dominance of rap and hip hop.
The art of deejay was now rightly recognised and the toasters or talk over artists advanced from introductions and interjections to stringing complete sets of lyrics together and riding the rhythm for the entire length of the song.
Deejays including U Roy, I Roy, Dennis Alcapone, Big Joe ,Little Joe and Prince Jazzbo who built their reputations working live on sound systems,now went one step beyond and moved on to become recording deejays with entire catalogues of hit singles and albums to their credit.
Throughout the seventies a whole host of mic men followed in their wake including Dillinger,Dr.Alimando,Clint Eastwood and Jah Stitch.
Talking records were not new, but 'talk over' records were...the repercussions of this uniquely Jamaican phenomenon would go on to reverberate worldwide...

Feelin’ Love returns to Soulfuric Deep with a fresh remix package built around one of house music’s most recognisable vocal anthems, bringing new energy to a timeless dancefloor favourite.

Originally released by Soulsearcher, the track has remained a staple across house and disco sets for decades, celebrated for its uplifting vocal, infectious groove and enduring crossover appeal.

This new edition pairs the original Soulsearcher Club Mix with a selection of contemporary reinterpretations, including brand-new remixes from RUZE & Chesster and Dr Packer, alongside the Ian Carey Main Mix, offering a versatile package for both modern and classic house DJs.

Blending soulful vocals, groove-led rhythms and contemporary production touches, the release bridges generations of house music while retaining the feel-good energy that made the original such a lasting success.

Back on fresh 12" vinyl, Feelin’ Love continues to resonate with both long-time collectors and a new wave of DJs, making it a strong addition to any house-focused record selection.

A highly recognisable and DJ-friendly release for stores supporting house, deep house and soulful dancefloor sounds.

Agents Of Time return to Afterlife with two heartrending audio expeditions.

Italian act Agents Of Time have established a sterling reputation over the years. Their mesmerising approach to club music blends emotive melodies and transcendent rhythms, with dance floor-centred beats.

The Mirage EP begins with its title cut; enveloping the listener is a swathe of atmospheric synth and pad work from the off. Oscillating frequencies complement the sultry rhythms while a life-affirming riff forms the stirring centrepiece. On the flip ‘Northern Lights’ is a sensitive, emotive composition which gradually increases its emotional impact as it builds and evolves.

2026 Repress

Up next in Champion’s LTD 12 inch reissue series is Sandy B’s club stomper, ‘Make The World Go Round’ with Washington D.C. don’s Deep Dish on remix duties. Iconic ’96 stateside house gold. On the B, Deep Dish take on, ‘Ain’t No Need To Hide’ with their ‘97 Sequel Re-edit with a dose of vocal house at its finest.

2026 Repress

A well-timed remastered version of this killer jacking electro cut from Aaron Carl on the legendary Metroplex label, featuring none other than Juan "The Man" Atkins. The release includes four versions. Dirty, essential Detroit electro.

Pax Nicholas is one of the last living veterans of Fela Kuti’s Africa 70. Born in Accra, Ghana, he joined Africa 70 as conga player and backing vocalist in 1971, appearing on landmark recordings including Lady Shakara.
In 1978, he left Africa 70 at the Berlin Jazz Festival alongside drummer Tony Allen, and settled in Germany, where he built a remarkable second chapter — leading the twelve-piece Afrobeat ensemble Ridimtaksi, collaborating with Finnish jazz maverick Jimi Tenor, and reuniting with the African diaspora in Berlin for Ebo Taylor’s celebrated 2012 album Appia Kwa Bridge released on Strut Records.
In 2009, Daptone Records reissued his 1973 cult classic Na Teef Know De Road of Teef, earning him long-overdue global recognition.
Now signed to Paris-based Afrobeat imprint Comet Records, Pax Nicholas returns with his new single “Mind Your Business” — a heavyweight dancefloor Afrobeat cut built on thundering brass, interlocking percussion and a razor-sharp guitar riff. The release features an exclusive remix by Gabriel Belabbas, producer, DJ and co-founder of Parisian label Positive Future, who recasts Mind Your Business in deep, minimal territory — a sparse, tension-laced groove that channels the hypnotic darkness of Moodyman and Ricardo Villalobos. Stripping the arrangement back to its percussive skeleton, he lets the Afrobeat elements — brass, rhythm, heat — surface and recede like smoke, leaving just enough space for the tension to build and the dancefloor to fall. Slow-burning and devastating on a proper soundsystem.

Morikawa Seiichirou, vocals, bass
Yamagiwa Hideki, electric & classical guitar
Takahashi Ikuro, drums & percussion

je prie pour que la goutte ne tombe pas
(I pray that the drop does not fall) is the first international release by Japanese trio Chi To Shizuku. While they have released five albums and a 7” in Japan, their spectral, haunted rock songs haven’t yet reached a much wider audience overseas. With this album, then, a live recording taken at Koenji HIGH, Suginami, Tokyo on 23rd November 2021, the unique, quartz-like character of Chi To Shizuku’s music is writ large, the bleak bliss of their songs carved onto twelve-inch vinyl.
Perhaps the best-known member of Chi To Shizuku, at least for audiences with an ear turned to Japanese psychedelia, is drummer Takahashi Ikuro, known for his membership of almost every group worth a damn from that scene – Fushitsusha, Nagisa Ni Te, Ché-SHIZU, Kousokuya, High Rise, Maher Shalal Hash Baz, LSD March, the list goes on. But the core of Chi To Shizuku’s music is the collaboration between vocalist, bassist and lyricist Morikawa Seiichirou, and guitarist and arranger Yamagiwa Hideki. Morikawa is a member of long-running punk/goth group Z.O.A., and has also played with YBO , Zzzoo, and as collaborator with Takeshi and Atsuo of Boris in A/N; he’s also recently been performing with Mitsuru Tabata. Yamagiwa’s history takes in stints with Katsurei and Cock C’ Nell, and he also recently guested with la scene 裸身.

All this contextual information does relatively little, though, to prepare you for the unique vibration of Chi To Shizuku’s lustrous songs. They shimmer in the same half-light, perhaps, as Shizuka and the quieter moments of LSD March, sharing a similar poise and classicism, and there’s a tenderness and wracked poetry to Morikawa’s voice that reminds of the emotional intensities both of traditional Japanese folk, and of British folk music: on “Musuu No Nemuri No Naka De Kumo Wo Tukamu”, the combination of his singing, backed with gorgeously plangent guitar, reminds of no-one so much as it does The Pentangle or Spriguns Of Tolgus. Chi To Shizuku’s love for the ballad as form gifts their music an archaic, sometimes arcane resonance, and from what you can hear on this album, it’s clear they’re in love with graceful melancholy.

But this is not a folk album, by any means; it just shivers with the same eternal spirit. There are also hints of prog rock, and you can catch some passages of scratchy, distended free rock, on the extended spirit invocation of “Nanhito Hanhito”. je prie pour que la goutte ne tombe pas is an extraordinary album, a melancholy surprise, that reminds dedicated listeners of the seemingly bottomless well of great music to be found via the Japanese underground in its many forms. Perhaps Michel Henritzi says it best, though, in his liner notes, when he writes, “Chi To Shizuku’s music reminds us that our life is a dream that lasts only a season, and that oblivion will follow.”

Recorded at Koenji High Suginami, Tokyo, 23 November 2021
Mix & Mastering: Taku Unami, photography : Noriko Akiyama
Liner notes by Jon Dale Printed by Alan Sherry

For over 11 years, Nowadays Records has been shaping the French electronic music scene with boundless energy and total artistic freedom. Much more than a label, Nowadays is a big musical family where every release, meeting and event becomes a real celebration. With over a hundred albums and nearly a thousand titles to its credit, Nowadays Records embodies musical diversity across a variety of genres: abstract hip-hop, house, electronica and alternative pop.



It's in this festive spirit that the Club Nowadays project is born, a true embodiment of the collective's vision. Through its club compilations and evenings featuring label artists and outside guests.



Today, the label continues to chart its course with the release of Club Nowadays Vol. 6, a new opus in its series of compilations, which fully embodies its vision of club music. This sixth volume brings together emblematic figures of the label and emerging artists around the following dance tracks.



Don't Lie, the first single from the compilation, is a heartfelt track born of a broken heart, but turned towards the light. Mira Ló composed this track as an act of resilience, following a break-up in love. She transforms her pain into positive energy, hoping that everyone can recognize themselves in it and find a little sweetness to soothe their own grief.



R1D1 brings together his groovy house and garage influences to create the track Marsupilami around a hand-crafted synth, sharp drums and deep bass. Influenced by hip-hop beatmaking, he incorporates vocals from radio and interviews, transformed into rhythmic elements. The name, a nod to the famous character, comes naturally through the sampled “houba houba”. Between offbeat textures and assertive groove, the track embodies R1D1's singular, hybrid universe.



OOGO & Blanka, two pioneers of the label, offer us Phô Real, a hybrid track between soulful deep house and hip-hop groove, mixing organic and digital textures. A track to get the dancefloor moving, with a delicious nod to La Fine Équipe's culinary universe.



With Tracksuit & Loafers, Yambow creates a bridge between groovy French Touch elegance and the effervescent energy of UK house, in the tradition of producers like Salute and Oppidan. The track is conceived like an acid cocktail: funky, euphoric and dancefloor-friendly. The title is a nod to cultural contrasts - between English tracksuits and French loafers - which translate into a musical interplay between sophistication and fervor.



Finally, Laaanky, the Parisian producer, breaks codes and gives free rein to his passion for raw sound, efficiency and groove on the track Bloom. Between textured house, dub echoes and Afro-tinged post-dubstep rhythms, he explores a danceable, minimalist and percussive electronica. Less is more.

For her new and most radical album »Electroacoustic Works for Halldorophone«, Martina Bertoni used the electronic instrument at EMS Stockholm to create four pieces that are massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming—almost ambient and always demanding your full attention.

Martina Bertoni returns to Karlrecords with »Electroacoustic Works for Halldorophone,« her most radical album yet. The foundation for the four electroacoustic pieces was laid during a residency at Stockholm’s legendary Elektronmusikstudion (EMS) that the Berlin-based cellist and composer used to explore the curious instrument, originally designed by Halldór Úlfarsson in 2008, as an algorithmic system in order to examine tunings and the mathematical relationships between Aiming to analyse and understand their interaction beyond the composer’s control, Bertoni sought to engage more deeply with the concepts of time, tuning, and, most importantly, control. Accordingly, her four »Electroacoustic Works for Halldorophone« seem both massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming— almost ambient and always demanding your full attention.

While the halldorophone—famously used by Hildur Guðnadóttir for her »Joker« score—roughly resembles a cello and can be played like one, it is an electronic instrument. The vibration of its strings is being picked up, amplified, and then routed through a speaker. This creates a feedback loop that becomes increasingly complex depending on how much gain is added to individual strings. Úlfarsson gave Bertoni a carte blanche for how to handle the instrument, but she stresses that she relied on »minimal interventions—some string strumming and plucking« that set the interactions of different sounds and frequencies into motion. »I decided to not approach it like a cellist would,« she explains. »Instead I used it as a kind of generative organ by turning it into a feedback machine, with tuned feedback triggering more feedback depending on the tuning, which was based on tetraphonic scales that I could apply on the four main strings as well as the sympathetic group of strings.«

Bertoni recorded the material in the EMS studio, later composing and arranging the four complex pieces in her home in Berlin, after which they were mixed and mastered by Ciaran O’Shea. While this can be considered a compositional abstraction process, traces of her concrete work as a performer are firmly ingrained in the music. »The halldorophone doesn’t have a line output, just a double set of speakers, which is why I recorded all sounds with two microphones in the EMS studio,« she explains. »That’s why there’s plenty of breathing sounds here and there—label owner Thomas Herbst and I jokingly refer to the album as my ›chamber music record‹.« And indeed, there is a striking sense of intimacy to these four pieces throughout which individual sounds, harmonic frequencies, and even subtle rhythmic figures seem to move both on their own accord but also according to a underlying vision that steers their interplay.

Indeed, »Electroacoustic Works for Halldorophone« is an album built on and marked by contrasts. The soothing polylogue of single sounds in the higher register on opener »Omen in G« is counterpointed by massive bass drones, while the second piece, »Nominal in D,« plays a cunning game of repetition and difference by combining thick textures with all kinds of rhythmic elements. »Fades in C«—the longest of the four pieces, clocking in at 17 minutes—unlocks the emotional potentials of the sonic qualities of the halldorophone, sounding at once serene and anthemic, and »Organon in D« closes the album by underscoring how Bertoni’s unconventional approach allows her to seamlessly transform simple, quiet tones into complex, towering walls of sound.

The Bronx rapper Tim Dog released his 1991 debut Penicillin on Wax to a hostile audience. Ever a king of controversy, he made a million enemies with his provocative single "Fuck Compton," a shameless attention ploy dissing N.W.A., DJ Quik, and America's entire Pacific Coast. Penicillin on Wax contains more of the same, as Tim trashes everybody from Kwame to Michel'le to Eddie Murphy. The lyrical insults were arguably the opening salvo in what would later become the East Coast versus West Coast hip hop conflict.

There's no doubt that Penicillin On Wax remains one of the true hardcore hip hop classics and one of many landmarks in sounds from the Bronx. Produced by probably the best hip hop producers of the early 90s, the Ultramagnetic MC's, this album contains some of the most energetic tracks you'll ever hear. Guest appearances on the mic from Kool Keith and Ced-Gee also enhance the LP.

Penicillin On Wax is available on black vinyl and includes an insert.

Melbourne producer Jordan Brando releases his new Fixation EP today via DJ Tennis’ Life and Death. The four-track project marks Brando’s debut on the label and arrives as he continues to establish himself as one of Australia’s top new club exports.

Fixation is built around raw, bass-driven grooves, moving between the shuffling percussion and hypnotic vocal hook of the title track, the tougher techno edge of “Vibration,” and the classic house influence running through “The Bassline.” “After Dub” eases the pace without losing that foundation, closing the EP on a warm, melodic note.

The release extends a growing connection between Life and Death and the current wave of Australian producers making an impact worldwide. It follows recent projects from Brando’s Not Without Friends collaborators Luke Alessi and William Kiss, who both joined the label at the end of 2025. Together, the three have built momentum around a shared strain of forward-thinking club music and recently reunited in New York City for a Raw Cuts event this summer.

Born and raised in Melbourne, Brando has developed a reputation for the breadth of his productions and DJ sets, with his original music and remixes appearing across dance charts around the world. While his solo work has earned support from international tastemakers such as Pete Tong (via his BBC Radio 1 show), he’s performed with Kiss and Alessi at Heide Museum of Modern Art, Beyond the Valley, London’s Night Tales and Rippon Lea Estate.

After a run of performances spanning Australia, New Zealand and Europe—including Lost Village, Beyond the Valley, Night Tales and Melbourne’s Collingwood Town Hall—Fixation finds Brando entering his next chapter with one of electronic music’s most respected labels, further cementing his place among a generation of Australian artists reshaping the international club landscape.

Two of the most prolific remixers in the world of Disco,Dave 'Love' Lee and John Moraleshave teamed up for one of their biggest projects to date - 'Mixed To The Maxxx'. After gaining access from the legendary original artists, the pair take the multi-track tapes of many classic Disco, Funk & Soul tracks and re-work them...to the Maxxx!

Where Remixed With Love stands as Dave Lee's own gold-standard body of work, Mixed To The Maxxx sets that legacy alongside Morales' own decades-deep M+M body of work: Lee brings his musically dense, groove-first touch to the likes of Harold Melvin, Syreeta, Lenny Williams and The Brand New Heavies, while Morales applies his extended, dancefloor-built M+M treatment and crushes the likes of Barry White, The Temptations and Loleatta Holloway, plus Dennis Coffey's breakbeat classic "Scorpio" for the DJs and collectors alike. Both work from original tapes, surfacing parts barely audible or entirely unheard in the source mixes, and both know when to let a classic breathe rather than bury it under modern production. It's a pairing a long time in the making. Lee and Morales first talked about working together around a decade ago, and getting Mixed To The Maxxx off the ground took five years of patient work: tracking down usable stems, securing approvals, and navigating a licensing landscape where much of the best material is now tied up with major labels increasingly cautious about clearing remixes. What's landed here is the product of that graft as much as the pair's shared ear for a great record, the sound of two people who know exactly what they're looking for and are willing to put in the time to find it.

A double 12" sampler in summer 2025 previewed the record's range. A bass-driven overhaul ofThe Brothers Johnson's "The Real Thing" and an extended mix of Philly legends Bell & James' "Livin' It Up (Friday Night)" showcased Lee's side, while an anthemic take on Inner Life's "Ain't No Mountain High Enough" and a tempo-lifted Light Of The World"London Town" flew the flag for Morales. Both drew strong early support ahead of the full LP.

Two of the most prolific remixers in the world of Disco,Dave 'Love' Lee and John Moraleshave teamed up for one of their biggest projects to date - 'Mixed To The Maxxx'. After gaining access from the legendary original artists, the pair take the multi-track tapes of many classic Disco, Funk & Soul tracks and re-work them...to the Maxxx!

Where Remixed With Love stands as Dave Lee's own gold-standard body of work, Mixed To The Maxxx sets that legacy alongside Morales' own decades-deep M+M body of work: Lee brings his musically dense, groove-first touch to the likes of Harold Melvin, Syreeta, Lenny Williams and The Brand New Heavies, while Morales applies his extended, dancefloor-built M+M treatment and crushes the likes of Barry White, The Temptations and Loleatta Holloway, plus Dennis Coffey's breakbeat classic "Scorpio" for the DJs and collectors alike. Both work from original tapes, surfacing parts barely audible or entirely unheard in the source mixes, and both know when to let a classic breathe rather than bury it under modern production. It's a pairing a long time in the making. Lee and Morales first talked about working together around a decade ago, and getting Mixed To The Maxxx off the ground took five years of patient work: tracking down usable stems, securing approvals, and navigating a licensing landscape where much of the best material is now tied up with major labels increasingly cautious about clearing remixes. What's landed here is the product of that graft as much as the pair's shared ear for a great record, the sound of two people who know exactly what they're looking for and are willing to put in the time to find it.

A double 12" sampler in summer 2025 previewed the record's range. A bass-driven overhaul ofThe Brothers Johnson's "The Real Thing" and an extended mix of Philly legends Bell & James' "Livin' It Up (Friday Night)" showcased Lee's side, while an anthemic take on Inner Life's "Ain't No Mountain High Enough" and a tempo-lifted Light Of The World"London Town" flew the flag for Morales. Both drew strong early support ahead of the full LP.

From Berlin to Lagos: Jembaa Groove expand their sound on "Be A Lover"

Berlin-based outfit Jembaa Groove return with "Be A Lover", a four-track EP set for full release on 18 September via global soul imprint Agogo Records. Following two critically acclaimed albums and an intensive period of touring across Europe and the US — including a SXSW showcase and a widely acclaimed KEXP session — this latest release marks a new chapter in the band’s trajectory. Built around highlife rhythms and shaped by Afro-jazz and the more organic edges of Afrobeats, "Be A Lover" unfolds with a warm, languid and deeply soulful feel, capturing different strands of today’s multifaceted Afrofusion scene.

Here, the band strips back from a seven-piece ensemble to its two founding members, while at the same time opening outward into a deeply collaborative space. At its centre is a close creative partnership with celebrated Nigerian highlife revivalists The Cavemen., alongside contributions from London-based, Nigerian born soul artist Azekel, Lagos vocalist Tim Lyre, and Malian icon Fatoumata Diawara.

“This record has a different flavour,” says Owusu. “It’s really about collaboration — different feelings, different thoughts, different energies coming together.” While centred around the Lagos contemporary scene, the record is shaped by a wider diasporic network stretching across London, Lagos, Berlin and Amsterdam, cities producer and bass player Yannick Nolting describes as “the pillars where everything that is happening in today’s highlife and Afro-fusion scene.”

Formed in Berlin in 2020, Jembaa Groove began after a chance meeting between bassist, producer and composer Yannick Nolting and percussionist, vocalist and songwriter Eric Owusu. Drawing on their respective musical journeys — Nolting’s years working with Lusophone artists in Lisbon and Owusu’s deep roots in Ghana’s highlife tradition, including work with Pat Thomas and late highlife legend Ebo Taylor — the project quickly took shape: their debut album Susuma established a powerful, poly-rhythmic sound grounded in highlife, jazz and soul, while 2024’s "Ye Ankasa | We Ourselves" expanded that vision through collaborations with artists across Ghana and its diaspora, including UK based Ghanaian singer, rapper, percussionist, and arranger K.O.G and legendary Ghanaian highlife musician Gyedu-Blay Ambolley.

The collaborative spirit continues on "Be A Lover", most of which grew out of a meeting with sibling duo The Cavemen. at Supersonic Jazz Festival in Amsterdam in 2023, leading to a sustained exchange of ideas between Berlin and Lagos. With two acclaimed albums behind them, The Cavemen. have emerged as central figures in both Lagos’ alternative music scene and the wider contemporary highlife revival, bringing the genre to a new generation through a stripped-back, melody-driven sound. “There was some kind of magnetism towards Lagos,” says Nolting; for Owusu, who is Ghanaian but spent much of his life in Nigeria, the connection runs even deeper. “I feel lucky to be able to bring different cultures together and make something really beautiful,” he says. A key part of that process was a close working exchange between Nolting and The Cavemen.’s Kingsley Okorie, who effectively stepped into a co-producing role on three out of four of the tracks.

The one exception is opener No Pain No Gain, which features Nigerian-born, East London-based Azekel, whose smooth, R&B-leaning vocal moves through a slow-burning arrangement of bright keys, gently rising horns and atmospheric synths, anchored by Owusu’s organic percussion.

The title track Be A Lover, featuring Afro-fusion Lagos artist Tim Lyre, distills the EP’s central message into its most immediate form. Backed by syncopated percussion and a gently smouldering arrangement, Lyre’s voice moves with a laid-back, melodic ease, delivering a simple refrain: “be a lover, not a fighter.” “It’s a very simple message,” says Nolting, “It’s about showing more love, on a personal level but also more broadly… just show love.” That same sense of warmth runs throughout the record, reflecting its core idea.

On Obi, The Cavemen. take centre stage, with Kingsley Okorie leading through melancholic, plaintive vocals rooted in classic highlife. In contrast, his brother Benjamin James punctuates the track with high-pitched vocal interjections, heightening the emotional tension against a backdrop of slow, restrained instrumentation.

Waka follows with a more melodic, hook-led refrain from Eric Owusu, whose loose, almost conversational delivery creates a striking contrast with Fatoumata Diawara’s unmistakably powerful, raspy vocal. The collaboration grew out of a chance meeting while Owusu was on tour, with ideas exchanged quickly and Diawara returning a finished vocal within days. “We are so proud to have her. It’s a privilege” says Owusu. "Be A Lover" is a record shaped by connections like these — between people, scenes, and cities. “It was partly intention, partly destiny,” says Nolting. “We met these people along the way, and somehow Lagos was meant to come into our path.”

Antorcha are one of the best-kept secrets of the Mexican underground rock scene. Their influences came from Iron Butterfly, Black Sabbath, Blue Cheer, Vanilla Fudge, and others. At times they also sounded like MC5, with whom they shared an anarchist and anti-establishment spirit. After a brief period during which they recorded only a couple of 7-inch singles for the Orfeón label that had a very limited distribution, Mexican rockers Antorcha fully embraced a DIY approach to managing their own career. They had evolved into a heavy psychedelic rock group, with no metaphors and no compromises. Anarchists in a country that could barely utter the word without trembling. It was the final years of the 1960s. They recorded five self-produced EPs, sold exclusively at their live performances, passed from hand to hand as if each record were a clandestine act. While MC5 stirred the streets of Detroit alongside the White Panthers, Antorcha was doing much the same in a Mexico that preferred to look the other way. The band operated as a cooperative: agreements were reached collectively, and income was shared equally. Antorcha became a forgotten band in their own country, overlooked even by Mexican rock experts. Yet their legacy proved influential on an organizational level for later groups in the independent scene, which followed Antorcha's model of self-releasing and self-managing their work. This compilation brings together the best of their discography, collecting self-released 7-inch records originally issued between 1971 and 1976, along with material that never appeared on their EPs. Includes an insert featuring liner notes by Carlos Icaza "Tropicaza" and photographs of the band.

Saxophonist Patrick Shiroishi and drummer Jason Nazary present their new album, "here i am no i". The release marks their duo debut for We Jazz Records, adding to an expanding release catalog also including Nazary"s solo album Spring Collection (2021). "here i am no i" is a free-flowing body of work with continuous forward-motion, building on the acoustic duo setting and expands with electronics and voice landing somewhere beyond genre. Dedicated to jaimie branch, the album is a spontaneous product of trying to come to terms with the unimaginable loss of a close friend. Patrick Shiroishi is a Japanese-American multi-instrumentalist, composer & poet based in Los Angeles. His solo work has appeared on labels such as Sub Pop, Touch, American Dreams and Otherly Love. Jason Nazary is a Brooklyn-based drummer and producer, whose work has previously appeared on the We Jazz label on the solo album Spring Collection and on New Monuments by Amirtha Kidambi"s Elder Ones. RIYL: Patrick Shiroishi, Jason Nazary, Anteloper, jaimie branch, Y-OTIS, Koma Saxo, Jon Hassell.

The year was 1989, and Derrick May was at a creative peak as both a DJ and producer. Under his Rhythim Is Rhythim moniker, he released a string of landmark records on Transmat, while his residency at Detroit's The Music Institute showcased the distinctive DJ style that would soon take him onto the international stage. Around the same time, he hosted a weekly radio show on Detroit radio station WJLB, alongside influential programs by The Electrifying Mojo and The Wizard (Jeff Mills).

For one of these broadcasts, May assembled a 15-minute megamix in his studio during the week leading up to the show. He opened his radio set with this continuous mix, blending his own tracks and versions into a seamless introduction that reflected his approach to DJing at the time. It includes unreleased versions of classics such as ‘Nude Photo 88’ and ‘Strings Of Life’.

‘All of this is unreleased because I made it as I was playing it on the spot as a special Mayday Mix for my show on the radio station WJLB in 1989, edited together straight from the keyboards live to tape. There is no other recording of these tracks in this form, only here’.

The original WJLB master tapes have since been lost, and no official recording is known to survive. Fortunately, many listeners recorded the broadcasts at home. One such cassette, preserved by Richie Hawtin, eventually made it our way. It has been carefully restored and mastered, with the artist’s approval.

To highlight this remarkable document of techno history, the recording is now available as a limited-edition, one-sided 12-inch release. The mix has been cut as a continuous side, visually divided into eight sections, while the reverse features a custom engraving.

Musique Domestique marks the debut full-length from French duo Adiciatz, a project that emerges from the shared musical curiosity of Manon Nogier and Guillaume Lespinasse. Living near Lyon and making music together since before the pandemic, the pair developed their sound during lockdown improvisations at home — a creative process that quickly revealed a unique musical chemistry rooted as much in folk tradition as in experimental exploration.

Drawing on a wide palette of influences — from Occitan poetry, delicate folk to drone and spontaneous sound exploration — Adiciatz makes music that feels both intimate and expansive. Nogier’s voice and amplified taisho koto weave through Lespinasse’s keyboards, machines and percussive touches, forming a sonic world where ritualistic soft folk melodies coexist with subtle electronic textures.

Their live performances, including an appearance at the Meakusma Festival, where their set blurred the line between concert and séance, have already shown how this blend comes to life in front of audiences, with hypnotic vocals, spiralling chords and slow, trance-like rhythms inviting listeners into a space that is both meditative and evocative.

On Musique Domestique, those live-rooted sensibilities are distilled into recorded form. The album moves fluidly between rich pastoral folk and instrumental meanderings. Musique Domestique announces Adiciatz as a compelling new voice at the intersection of folk, experimental and electronic music crafted with care and intuition.

10” black vinyl + DL card.

Josephine Foster's peculiar 2000 home recorded debut There Are Eyes Above is an essential introduction to her music that’s unfolded now for over two decades. Released for the first time on vinyl, this limited edition 10-inch pressing comes packaged with brand new artwork and is adorned by one of Josephine’s illustrations. Lo-fi and unaffected by tradition or commercialism these initial recordings are sepia-tinted, folk-art music with powered by uke minimalism; it’s outsider music that still doesn't fit in. Just 30-minutes caught in time before her 2001 follow up Little Life - this humble first incarnation includes here for posterity super personal lullabies and a glimpse into her songwriting evolution. It’s music from an era that only exists in your mind, with a bow to Tin Pan Alley for good measure. This super rare collection, originally only released on CDR and sold at shows, remains an essential part of the curious oeuvre of this unique songwriter and singer. “A dissonant soprano and lyrics about benevolence and old-time faith, Foster expertly weaves ancient and modern” The Guardian. Track listing: Side A 1 One Hundred Songs I Sing 2 Emily Told Me 3 Teeter Totter 4 Little Life 5 I Am A Guest In Here. Side B 6 Robber Song 7 Hey Matthew 8 There Are Eyes Above 9 Godcake 10 Yippee I'm Leaving 11Two Not One

The studio at 122 West Loveland Avenue was not an unfamiliar space for Steve Okonski, the leader of his eponymous trio Okonski. Ever since the Colemine label set up shop in Loveland, Ohio it has been a host to a number of groups passing through town, including Durand Jones and the Indications who all of this trio's members have connections to. After setting aside some time in winter of 2020, Okonski, trained initially as a classical pianist, invited Michael Isvara "Ish" Montgomery and Aaron Frazer to work on an album that was initially planned to be beat driven and fully composed trio instrumentals.

After finishing this first session with some improvisations, a second week was booked in the summer of 2021 to try and capture some more of that spontaneous energy. During this session, the tracks were all improvised and recorded live to a Tascam 388 during several late nights at the Colemine HQ. They were structured to allow the group's collective intuition to fully shape the melodies and arcs of the music.

The album opens with Runner Up, where a triumphant yet melancholic melody in the piano leads to a more reserved B-section driven by the drums and bass of Frazer and Montgomery. As you journey through the remainder of the album you are met with a plethora of evoked and explored emotions. The calmness one has walking down a moonlit street after midnight, the connection one has for a person who comes into their world for just a moment or a lifetime, and the nerves and catharsis one feels when starting upon a new, unknown journey.
Magnolia closes with Sunday, a track that was recorded late into the night at the close of their first recording session. Without the spontaneity of Sunday, the remainder of Magnolia would likely have never come to fruition.
Magnolia was composed from the heart and from the spirit of those in the studio those late nights in Loveland. It is the culmination of an emotional and artistic release that was not afforded or recognized before the band sat at their instruments, and because of that it is introspective, meditative, spiritual, and new.

Pioneering Ghanaian musician King Ayisobareturns September 4, 2026 with his forthcoming seventh album Pure Confusion, recorded and produced by On-U-Sound’s Adrian Sherwood.

Ayisoba is one of Ghana’s most distinctive musical voices. The world’s foremost player of the kologo - a homemade two-string lute fashioned from a calabash and covered in goatskin - he delivers fiercely political and socially observant songs using three different voices, including the voice of his grandfather that possessed him as a child. Sherwood meanwhile is the pioneering British producer and founder of On-U Sound whose hugely influential career has connected dub, post-punk, industrial, hip hop and experimental music through collaborations with artists including Lee “Scratch” Perry, Mark Stewart, Horace Andy, Sinéad O’Connor, Nine Inch Nails and Depeche Mode.

Ayisoba and Sherwood first collaborated during a BBC Radio 3 Late Junction session at Maida Vale in 2017, organised by Ayisoba’s long-time collaborator Arnold de Boer/Zea of The Ex. The pair immediately connected, and during the pandemic, when Adrian’s long-time African Head Charge collaborator Bonjo Iyabinghi Noah was in Ghana looking for musicians to collaborate with Sherwood suggested Ayisoba, who eventually featured on two tracks on African Head Charge’s 2023 album A Trip To Bolgatanga (Bolgantanga is the region Ayisoba is from). Ayisoba then returned to the UK in late 2024 and travelled to Sherwood’s Ramsgate studio where the pair laid down the songs that would become Pure Confusion: “All the songs were already in my head,” says Ayisoba. “This album is all recorded live, over one afternoon. Adrian only plays live, and I like that. And he works hard - he doesn’t sleep. I woke up in the night and he was still working.”

“In my role producing it, I just let it roll to make a good vibe,” says Sherwood. “We recorded it completely live, did some programming and processing on some tracks, using dub techniques live on the mixing desk and adding some slick touches. We wanted the colours on the album to swing off what Ayisoba was doing, so we invited some friends to participate. Doug Wimbish (Sugar Hill Gang) arrived from America and lent his services playing bass on a couple of tracks; the wonderful Ivan Hussey (Celloman) played bass, keyboards and cello - cello is not really featured on African recordings so we thought it would be really cool to try it. I'd been working with Alex White (Fat White Family/Primal Scream) on my album (The Collapse of Everything) and so he added sax to a few tracks and I brought Alan Glenn down especially - Alan was in Little Axe but also Nine Below Zero and played in the Yardbirds – to add some mouth organ; Mark Bandola added a bit of flavour with his Juno, Ayisoba’s long-time Ghanian collaborator Ayuune Sule added some percussion and vocals and Matt Smith did some programming.”

“King Ayisoba is quite amazing, so unique,” Sherwood continues. “He’s got his own handmade instrument and three different voices - when you’re listening you think it’s three different people. He’s a breath of fresh air, full of love for the music which he wants to share with everybody. Some tracks we kept very straight and others we experimented with - adding dubby psychedelic little touches to trip you out a bit. The added production we did at On-U has given it a shine while still keeping it vibrant, live and spontaneous. I’m really proud of this record”.

On Pure Confusion, Ayisoba documents the anxieties, contradictions and changing social realities of contemporary Ghana. “Land is a problem for everyone,” says Ayisoba of the opening track “Property”. “If you don’t build on your land they will take it away. Plenty corruption in Ghana, plenty confusion. They sell the land to two, three, four people and then everybody fights.”

Elsewhere Ayisoba explores illness, spirituality and social stigma on “Bemba”, warning against hiding sickness out of shame or fear of “bad juju”: “People hide their sickness and the sickness kills them.” “Tewigiloge” reflects on cultural difference and open-mindedness encountered through world travel: “We will tour the whole world and we will see many things we may not like or understand… your eyes will see, but don’t talk - you have to be open-minded.”

Spirituality runs deeply throughout the album. Ayisoba’s grandfather was a respected spiritual healer whose presence the musician says still guides him today. “The grandparents’ spirits are the ones you can contact,” he explains of the spiritual chant “Nkaase”. “This song talks about the forefathers.” The closing track “Leeda-Mampanga (It’s Not My Strength)” acts as a statement of humility and gratitude: “You have to be humble, even if you have talent. God gives you the power.”

For more than two decades, King Ayisoba has been one of Africa’s most distinctive musical innovators, transforming northern Ghanaian kologo traditions into a bold contemporary sound rooted in hypnotic rhythms, social commentary and spiritual intensity. Since the breakthrough success of 2006’s Modern Ghanaians, Ayisoba has built an international following through acclaimed albums, relentless touring and collaborations with artists including Lee “Scratch” Perry, Orlando Julius and African Head Charge. Performances at Roskilde, WOMAD, Le Guess Who? and the Barbican have further cemented his reputation as a singular live performer and cultural force.